현대미술의 원시주의에 대한 연구

• 영문명: Study on the Primitivism in Contemporary Art - With a Focus on 《Magiciens de la terre》(1989)
• 발행기관: 한국조형디자인학회
• 저자명: 한의정(Han, Eui-jung)
• 간행물 정보: 『조형디자인연구』조형디자인연구 제19집 4권, 141~162쪽, 전체 22쪽
• 주제분류: 예술체육 > 미술
• 파일형태: PDF
• 발행일자: 2016.12.30

영문 초록

Seeing the African sculptures, modernism artists in the early 20th century had wanted the fundamental return of Western civilization. We call this movement ‘primitivism’, preoccupied with the values and the figures of the non-Western. There are two important exhibitions about primitivism in contemporary art ; one is 《“Primitivism” in 20th Century: Affinity of the Tribal and the Modern》(1984) of the MoMA, New York. The other is 《Magiciens de la Terre》 (1989) at Centre Georges Pompidou and Grande Halle de La Villette, Paris. Especially, 《Magiciens de la Terre》 directed by Jean-Hubert Martin sought to overcome the relic of colonialism that 《“Primitivism” in 20th Century》 had failed to leap. 《“Primitivism” in 20th Century》 had paved the formal resemblance between tribal art and modernism art in the name of ‘affinity’, had decontextualized tribal art from his own background, and had reintroduced it into the modernism’s context. 《Magiciens de la Terre》 did not choose the methode of parallel, comparison or contrast, but tied tribal objets and art works together to show that they came from one branch of art. Curatorial team visited the ateliers of the artists, chose 50 artists in the center of art world and 50 artists in the margins of art world. Artists came to work ‘in situ’ in Paris, and their works were displayed without classification of region, genre, etc. The ‘magic’ of the title of the exhibition was to put the spirituality of art in the front of the exhibition, and the ‘terre’ was to express the will to go beyond the frame Western/non-western, the self/the other, civil/savage and to represent the meaning of ‘the whole earth’. Therefore, 《Magiciens de la Terre》 can be considered as postmodern exhibition to challenge the distinction between Western/non-Western, high art/popular art, avant-garde/kitsch, and to try ex-define art. In addition, it was an exhibition that marked to public the existence of contemporary art outside the western world and led to productive debates in art including postcolonialism.

목차

Ⅰ. 서 론

1. 비서구 미술의 등장

2. 현대미술과 원시주의

Ⅱ. 장-위베르 마르탱의 《대지의 마법사들》전 (1989)

1. 《20세기 미술의 원시주의》전(1984)과 차별화 전략

2. 작가 선정과 공간 구성

3. 후기식민주의와 《대지의 마법사들》

III. 결 론 : 《대지의 마법사들》전의 의의

□ 참고문헌

키워드

대지의 마법사(Magiciens de la terre) 20세기 미술의 원시주의(Primitivism in 20th Century Art) 원시주의 (primitivism) 장-위베르 마르탱(Jean-Hubert Martin) 윌리엄 루빈(William Rubin) 커크 바네도(Kirk Varnedoe) 후기식민주의(postcolonialism)